After a hectic Thursday of media meltdowns reacting to President Trump’s press conference, the lunacy was still flowing on MSNBC’s Hardball. In less than 20 minutes, host Chris Matthews compared a “manic” Trump to Jack Nicholson from A Few Good Men and Alger Hiss attempting to wiggle his way out of being deemed a Soviet spy.
Not surprisingly, ABC has been very aggressive in helping the progressive movement, opposing president Donald Trump since the 2016 election ended and now, attacking anything conservative. There is also emerging evidence that even though Disney CEO Bob Iger is willing to work with the President, ABC chief Ben Sherwood seems to want to do the opposite. Perhaps the most recent and most evidence is the upcoming miniseries, When We Rise.
It’s official: There’s no escape from anti-Trump politics – it featured on the front page of every inside section of Thursday’s New York Times. The NYT thought it vitally important to tell its readership how fashion designers and actors feel about Trump, and how a new TV cop show featuring a “results-oriented boor” is a painful reminder of the new president.
After making her hashtag #OscarsSoWhite go viral last year by claiming the Oscar nominations were racist and urging a boycott in protest, April Reign is still unhappy. This year, seven of the 20 nominations in acting categories went to minority actors and three films in the Best Documentary category are about black experiences in America. But Reign has now taken her hashtag tweeting advocacy campaign onto another social justice issue – stating that she’s still waiting for LGBT comedies and disabled superheroes.
In Hollywood, there are unforgivable crimes – performing at Donald Trump’s inauguration, for one. Making a serious movie about Christ’s passion and death, for another. But a powerful and celebrated 43-year-old director raping and sodomizing a 13-year-old? Not so much.
While Sundance founder Robert Redford insisted that his festival doesn’t “play advocacy,” the lineup of 2017 films is certainly political.
“The idea of us being involved in politics is just not so,” Redford told The Hollywood Reporter, noting that the festival focuses on the stories told by artists. “We stay away from that.”
We're not in Sunnydale anymore, Buffy. Joss Whedon, big shot director turned big-time deranged progressive hack, probably speaks for his Hollywood peers when pounding his highchair over the election. He just does it more creatively and crudely than most.
The latest conversation from the joyless liberal New York Times movie critics A. O. Scott and Manohla Dargis tacked race and class. The online headline was provocative to the point of offensiveness: “Watching While White: How Movies Tackled Race and Class in 2016.” Dargis, the more radical of the two, proclaimed herself pleased that Hollywood isn’t telling quiet as many lies about American greatness and white superiority, and asserted that "Movie critics, who are largely white and male (see the numbers!), seem stubbornly reluctant to engage with race, at least as it pertains to whiteness."
You silly American. You thought Meryl Streep’s six minute Golden Globes rant was just another instance of an entitled Hollywood gasbag using her position to speak whatever the opposite of truth to power is. You probably chafed at being talked down to by a political partisan who’s forked over six figures to Democrats in just four years.
Shocker: there’s another Disney movie that the media wishes were more liberal than it actually is. When J.J. Abrams hinted earlier this year that the latest Star Wars film could feature a gay character, and then GLAAD decreed that the franchise needed more LGBT representation, many in the media were elated and had high expectations for Rogue One. When the film was finally released last week, Chirrut Imwe and Baze Malbus were pegged as the characters that Abrams must have been alluding to.
Washington Post film critic Ann Hornaday put a gauzy movie about the Obamas’ first date among her ten best movies of 2016. Now in Variety, film critic Owen Gleiberman singled out Dinesh D’Souza’s documentary Hillary’s America in his five worst movies of 2016. "You've got to say this for the right-wing firebrand-turned-documentary filmmaker Dinesh D'Souza: A few years back, he looked like an outlier, but now he looks like the founding father of fake news."
Washington Post movie critic Ann Hornaday doesn’t just love Barack Obama. She’s loving both Obama biopics. In Friday’s newspaper, she wrote “Remarkably, two movies have come out this year about the young adulthood of Barack Obama. Even more remarkably, they’re both terrific.”
The new movie is Barry, coming out on Netflix, with the screenwriter Adam Mansbach borrowing from Obama’s phony memoir Dreams from My Father, where Obama created the fake news of composite white girlfriends. Thankfully, composite white girlfriends are better suited to movie scripts than to million-selling allegedly “nonfiction” books.